I have painted the above sky once before here. I don’t mind practicing from references I used previously. It’s nice to be able to see differences in a painting and to see if my skills have changed. I tried something new that I read about in a landscape book about skies and clouds. I used a sponge that I pre-wet and squeezed most of the water from to soften the top edges of the above clouds. I find it impossible to create interesting clouds without leaving hard edges everywhere. After my clouds had dried, I just took that sponge and lightly rubbed out the hard lines around the edges of the above clouds. I had to keep re-wetting and wringing the sponge to remove pigment that was lifted and to prevent smearing as I worked, but it really did the trick and fluffed up those upper edges. I also created that beam of light that bursts outward in the upper sky by dragging the sponge through the wet sky wash prior to it drying. The water was created by sponging liquid frisket in the center area to save the bright white of the paper. The lines of waves in the foreground were created by drawing them in with frisket, using a round brush.Once the frisket had dried, I washed on the colors for the water. This painting looks its best if viewed from a distance.
I don’t know if any of you have discovered that it is always best to get up and move to a distance of about ten feet and view your painting, in progress, from time to time. I find that a very useful practice for getting the value contrasts down. Most paintings are viewed from somewhere else in a room than right on top of them. I love going to an art museum and viewing a painting up close and then slowly backing up and see the whole thing come together. Several famous artists whose originals I’ve viewed, this way, and that really pack a punch when you back off them, are Van Gogh, Turner, Seurat and Monet. This never ceases to amaze me.